Composers
had very specific sounds in mind, based on instruments familiar
to them. Performances of their works on `new and improved' instruments
frequently transgress the composers' vision, by disrupting the balance
between instruments, introducing unfamiliar timbres, and omitting
nuances unavailable on the newer instruments.This is particularly
true for music before 1850. The composer (represented by the score
and information from the time), the performer (with appropriate
skills and knowledge about performance practices of the time), and
authentic instruments, a Musical Trinity, of which all three parts
are essential for reproducing and understanding much of our most
cherished repertory.

I invite you to experience familiar pieces on period instruments,
and discover why period instruments are essential to the interpretation
and enjoyment of our musical heritage.